I know I’ve looked at the Times a few times this week, but before we get too far into the next week, I did want to show what they printed on Saturday.
It is not too often we get treated to data on the front page or even the section pages. But last Saturday we got just that in the Business Section. Two very large and prominent charts looked at federal government borrowing and the federal deficit. Both are set to grow in the future, largely due to the recently enacted tax cuts.
The great thing about the graphic is just how in-the-face it puts the data. Do two charts with 14 data points (28 total) need to occupy half the page? No. But there is something about the brashness of the piece that I just love.
And then it continues and the rest of the article points, at more normal sizes, to treasury bill yields and car loan rates. The inside is what you would expect and does it well in single colour.
The New York Times has posted a nice piece with an animated graphic. No, not that piece, I’ll probably cover that next week. This one looks at demographic changes in the United States, specifically in the population change at county levels. A number you arrive at by subtracting deaths from births and excluding migration.
Basically what we are seeing is a whole lot of red outside the major cities, i.e. the outer suburbs. The article does a nice job of explaining the factors going into the declines and is well worth its quick read.
Philadelphia is expecting a little bit of snow today, 20 March. We should not be seeing too much accumulate if anything, but still, flakes will likely be in the air this evening. That made me think of this piece from just last week where the New York Times looked at the change in winter temperatures across the United States for the last almost 120 years.
Of course, I would be remiss if I failed to mention that climate change does not mean that temperatures always rise. Instead, while the general average trends upward, the curve flattens out meaning more extreme events on both the hot and the cold parts of the spectrum. (Actually, the New York Times covered this very subject well back in August.)
Anyway, the map from the Times shows how the biggest changes have been recorded in the north of the Plains states. But the same general shift is subject to local conditions, most notably in the southeast where temperatures are actually a lit bit lower.
Credit for the piece goes to Nadja Popovich and Blacki Migliozzi.
I am exhausted. I tried to stay up late enough to catch the absentee ballots from Washington County. Alas, I did not quite make it. (You better bet I will be drinking all the caffeine today.) But someone else did not quite make it through the night. Or rather, something. What was it? The New York Times election night needle.
To understand why the Times made the needle, read this really great explainer. The super short version: it tries to forecast the results of that particular election day, accounting for things like uncounted votes. On television, analysts and large interactive screens can show how, usually, urban districts are counted first then followed by slower-to-return rural areas. But for people following results solely online, those nuances might well be lost. Enter the needle.
Last night, like much of the Twitterverse I follow for politics, I had the needle open in one tab. But as the results began to come in, something odd was happening on the Times’ results page. The votes were being displayed in a precinct-by-precinct fashion in Allegheny, Washington, and Greene Counties. But Westmoreland was oddly grey. It turned out, the county elections board was not, I suppose, digitally publishing the precinct results, only county-wide.
Fun fact, the needle’s model is apparently built on precinct results. So how do you have a needle if something like 30% of the model’s required or expected data will not be available? The Times tweeted about it a few times, but ultimately pulled it down. Better to not have it and be right than have it wrong just to have it.
But that brings me to the second point about the needle. Well done to BuzzFeed’s Decision Desk HQ, who were presciently concerned about the ability of the county to get precinct level results up online. So they sent a reporter, as in a human being, to Westmoreland to get the analogue results and then upload them to BuzzFeed’s own results spreadsheet. (I never did find a BuzzFeed live results page.)
Who knows the budget difference between the New York Times’s graphics/politics desks and that of BuzzFeed’s, but the ability to put a single person in Westmoreland made the difference for BuzzFeed, whose coverage via Decision Desk HQ, made for a more compelling following because they were, old school like, reading out results as they came in via reporters. And because there were no exit polls in the election, we had to wait for all the votes. Strangely, it almost felt like watching a UK general election where you have to wait hours for some constituencies to announce results. Though this election had a noticeable lack of Raving Monster Loony candidates.
I bring up the BuzzFeed contribution to the night because it does show how sometimes the sheer fact of placing a reporter on the ground can yield tremendous results. Come November, no, I don’t think any single media organisation can afford to put a reporter in every single US county. But I would bet the Times will be working on how to better precinct proof their needle.
Credit for the piece goes to Nate Cohn, Josh Katz, Sarah Almukhtar, and Matthew Bloch.
This past Sunday I had a nice treat in the New York Times. They printed a piece looking at the state of the US-Mexican border wall as it is today. And not only was it an article, but it was a full-page article.
There isn’t a lot to say about it in particular. But what I really did like was the decision by the designer to tilt the map at an angle. Normally we would see a straight east-to-west, right-to-left map, but here the axis is more southeast-to-northwest, right-to-left map. And that creates a nice space for text in the lower left area, which the designer here did in fact use for the main block of text.
For many years I would often tell people that sometimes a visualisation can be “boring”, because the data itself is boring—a lack of growth in a market, no real mergers, or even steady and consistent but unspectacular growth. Those can all be stories, even if they likely result in very monotone choropleths or straight line charts or perfect steps of bar charts.
And then there are times when the lack of growth or change, when visualised, can be very powerful. I wanted to share this piece from the New York Times with everyone because it does just that.
You really need to click through and see the scale and scope, because the designers behind this did a fantastic job of capturing that sense of lack of change in a very large and expansive piece.
Credit for the piece goes to the New York Times Editorial Board.
One week ago today, President Trump touted soaring stock prices as an indicator of a roaring economy. In truth, stock market prices are not that. They are driven by fundamentals, such as GDP growth, wage increases, and inflation. Furthermore stock prices can be fickle and volatile. Whereas a recession does not begin overnight, the factors build over a period of time, a stock market correction can happen in a single day.
So one week hence, the stock market has seen fully one-third of its gains over the past year wiped out. That is over $1 trillion gone from market funds, 401ks, college saving funds, &c. But again, not to freak people out, these things can and do happen. But because they can and do happen, presidents do not often go touting the stock market as it can come back and bite them.
This morning’s paper therefore had a pleasant graphic to accompany a story about the recent declines. And it was on the front page.
Like with the choropleth story I covered a little over a week ago, the graphic in today’s paper was not revolutionary nor earth shattering. It was two line charts as one graphic. What was neat, however, was how it supported two different articles.
But when I looked closer I found what was really neat: context.
The chart does a great job of showing that context of adding nearly $8 trillion in value over the course of the administration. But then that sharp decline at the right-side of the chart is blown out into its own detail to show how all was steady until Friday’s economic news was released. I think perhaps the only drawback is how tiny and fragile that arrow feels. I wonder if something a little bolder would better draw the eye or connect the dots between the two charts. Maybe even moving the “… and the last week” line above the chart line would work.
Anyway, I was just curious to see how the charts were depicted on the web. And then lo and behold I was treated to two graphics on the home page. The other is for an article about flood risks to chemical plants, not part of this post. But the focus of our post on the stock market was the same as in print. But here is the homepage with two different graphics, always a treat for a designer like myself.
Credit for the piece goes to the New York Times graphics department.
A few days ago I posted about the front cover graphic for the New York Times that used a choropleth to explore 2017 economic growth. Well, this morning whilst looking for something else, I came across the online version of the story. And I thought it would be neat to compare the two.
Again, nothing too crazy going on here. But the most immediately obvious change is the colour palette. Instead of using that green set, here we get a deep, rich blue that fades to light very nicely. More importantly, that light tan or beige colour contrasts far better against the blue than the green in the print version.
The other big change is to the small multiple set at the bottom. Here they have the space to run all twelve datasets horizontally. In the earlier piece, they were stacked six by two. It worked really well, but this works better. Here it is far easier to compare the height of each bar to the height of bars for other countries.
Earlier this month I wrote-up a piece from the Economist that looked at 2018 GDP growth globally. I admitted then—and still do now—that it was an oddly sentimental piece given the frequency with which I made graphics just like that in my designer days of youth and yore. Today, we have the redux, a piece from the New York Times. Again, nothing fancy here. As you will see, we are talking about a choropleth map and bar charts in small multiple format. But why am I highlighting it? Front page news.
I just like seeing this kind of simple, but effective data visualisation work on the front page of a leading newspaper.
I personally would have used a slightly different palette to give a bit more hint to the few negative growth countries in the world—here’s lookin’ at you, Venezuela—but overall it works. And the break points in the bin seem a bit arbitrary unless they were chosen to specifically highlight the called-out countries.
Then on the inside we get another small but effective graphic.
It doesn’t consume the whole page, but sits quietly but importantly at the top of the article.
There the small multiples show the year-on-year change—nothing fancy—for the world’s leading economies. A one-colour print, it works well. But, I particularly enjoy the bit with China. Look at how the extreme growth before the Great Recession is handled, just breaking out of the container. Because it isn’t important to read growth as 13.27% (or whatever it was), just that it was extremely high. You could almost say, off the charts.
Overall, it was just a fun read for a Sunday morning.
Credit for the piece goes to Karl Russell and the New York Times graphics department.
The Winter Olympics are creeping ever closer and so this piece from the New York Times caught my eye. It examines the impact of climate change on host cities for the Winter Olympics. Startlingly, a handful of cities from the past almost century are no longer reliable enough, i.e. cold and snow-covered, to host winter games.
This screenshot is of a bar chart that looks at temperatures, because snow and ice obviously require freezing temperatures. The reliability is colour-coded and at first I was not a fan—it seemed unnecessary to me.
But then further down the piece, those same colours are used to reference reliability on a polar projection map.
That was a subtle, but well appreciated design choice. My initial aversion to the graphic and piece was changed by the end of it. That is always great when designers can pull that off.
Credit for the piece goes to Kendra Pierre-Louis and Nadja Popovich